Composer: Wolfgang Amadeus Mozart, libretto by Emanuel Schikander with English translation by Jeremy Sams
Director: James Brining
With a score demanding a high degree of vocal technique from the soprano and a storyline involving secret societies and supernatural beings Mozart’s The Magic Flute adheres to the template of what most theatregoers would expect from an opera. Yet the light touch adopted by Opera North avoids pomposity and finds a degree of humour and even social comment in the grandiose score.
The Magic Flute is unusual being an opera with a number of lengthy spoken, rather than sung, passages. At The Lowry there are, in addition to conventional surtitles, also British Sign Language Interpreters. An innovative approach has the Interpreters integrated into the production, wearing appropriate costumes and being acknowledged by the other characters and their gestures indicating the tempo of the music and instruments being played as well as the dialogue. It is a stylish approach even if, at times, it feels like there are conductors on stage as well as in the orchestra pit.
A child’s efforts to listen to her records and play with her toys are frustrated by noise from drunks at a nearby party and her parents having an almighty argument possibly leading to them breaking-up. She retreats into her imagination observing Tamino (Trystan Llŷr Griffiths) as he goes on a quest. With aid from the reluctant and boastful Papageno (Emyr Wyn Jones), Tamino sets out to rescue Pamina (Soraya Mafi) the daughter of the Queen of the Night (Nazan Fikret) who has been kidnapped by a cult under the control of the charismatic Sarastro (Justin Hopkins). However, as is often the case, things are more complex than they first appear.
The links between the framing sequence and the opera narrative feel half-hearted. Trystan Llŷr Griffiths is bullied at the party and pressured into undertaking a quest, Justin Hopkins plays both the father of the child and the father- figure, Sarastro and Colin Judson intimidates the child and tries to take advantage of Pamina. However, in the main, director James Brining takes an irreverent tone, with Papageno constantly undermining the concept of a ‘hero’, declining to seek true love if it means risking his neck and activating his magical instrument with a ‘what-the-heck’ shrug.
The Magic Flute is a tribute to the power of imagination and art to inspire and heal. The hero, Tamino, carries a musical instrument rather than a weapon and the child in the framing sequence copes with a traumatic experience by retreating into fantasy. Director Brining’s surprisingly light-hearted approach combines the ridiculous with the sinister. There is a dream-like quality to the gigantic scorpion stingers intruding into the child’s nursery, which reduces any sense of menace. Meanwhile, The Three Ladies who serve the Queen of the Night show as much interest in flirting with Tamino as they do in completing their mission.
The set and costumes designed by Colin Richmond for the religious cult are worryingly authentic; it is even possible to work out the different ranks of the members depending on slight uniform variations. As the cult uniforms are of a pantone red shade, it is hard not to think of the TV version of The Handmaid’s Tale. The visual impact of the Opera North chorus dressed in such a homogeneous manner is deeply oppressive and intimidating.
The present dire international situation makes audiences sensitive to the need to stand up to bullies and oppressive regimes. Disturbingly, Tamino, the supposed hero of the story, does not hesitate to kow-tow and undergo the rituals of the domineering cult in order to secure his bride. The heroic focus, therefore, shifts to the sidekick Papageno, who refuses to comply and, by telling his story to a group of children rather than as an isolated solo, becomes an unlikely inspiration to rebellion.
There is an element of social class-consciousness in the opera. Tamino can be perceived as the ‘everyman’ as his songs are simple plainsong/ folk. Papageno is even more appreciative of his place on the social ladder; aware he is, like a canary in a coalmine, considered expendable. As the social class of the characters goes up the scale, their vocal expertise becomes more complex.
The animosity between the squabbling sects is reflected in the different vocal styles. Nazan Fikret as the Queen of the Night sends her voice swooping up and down the higher registers. The deep rumbling vocals of Justin Hopkins give cult leader Sarastro the tone of a benevolent but strong father figure.
Opera North’s irreverent tone makes for a refreshing and engaging production of a classic opera.
13th and 14th March, 2025
The Reviews Hub Score
Refreshing and engaging
